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COPYRIGHT 

1917. 




Polyglot Publishing Hou$e - 61 Centre Street, New York 



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Personages : 

VENUS 
DIANA 

PHYLLIS 

PHILOMENE 

RITA 

RICHARD 

GUSTAVB 

Mr. JUDAS 

BACCHUS 

ADONIS 

APOLLO 

MERCURY 

Mr. CLARY 

OCTAVE RAN ILL A 

THE BARONET 

THE MARQUIS 

WAITER 



Nymphs, Gods, 
Musicians, gypsies, 
and general Chorus 

Our Period 



The scene of the First 

Tableau is in Madrid, 

That of the Second in 

the Olympus; those of the 

Third in the air; of 

the Fourth in Monte 

Carlo. Of the Fifth 

in reality. 

The right and left are that 
of the actor. 



This work is the property of JULES SCHMIDT, 
and nobody can, without his authorization, either 
reprint cr re- present it in Spain; or in any other 
country having promulgated, or who shall in the 
future promulgate international treaties of literary 
property. The Author reserves the right of trans- 
lation. The deposit required by law has been duly 
made and the work has been filed in the Register 
of literary property. 

©CI.D 46902 



7v«>« / 



V V V V V V V V Y ~T ?~~? ? ? ? <T 



the ii!iiiiiiP€SS 

Words and Music by 

Jules Schmidt 



ppiiiyiiiiiii 

>ri ^w \a vfc^# **» >ts* <*Sa> -» - -. t»«a 



The scene, at the beginning, is hidden behind a 
short curtain When it is raised, a lady appears on 
the stage attired in pearl-color silken trousers, 
She carries a court sword, has a fancy vest, a red 
silk cloak and a wide-brimmed hat, of Charles the 
Fourth's period. 

A drink of champagne produced this dream 
portraying effects of human vision 
from which a Poet shaped the scene 
to form a pleasant exhibition. 

An ingenuous Miss worked out a scheme 
to enhance the Poet's affection 
By provoking a supernatural dream 
to enlighten him in his selection. 

(This tableau may be eliminated, according to the 
judgment of Stage Manager.) 



MM -5 \W 



FIRST ACT 

STAGING OF FIRST TABLEAU 

TITLE: 

"IN QUEST OF AN AFFAIR" 

The stage represents the interior of a mansard,. 
In the background, a balcony over the street. At 
the right a garret-window through which the man- 
sard is lighted. On the same side a desk; on this, 
some papers, books, pens, and some newspapers, 
A coffee service, a cane-seat chair and a waste 
basket near it; on the left, a door with a peep- 
hole, and above the door, at a certain height, a 
"bell which rings through the pulling of a cord out- 
side. In the center, with its back to the window, 
is an easel holding a canvass on which is traced 
the portrait of Mr. Judas (this portrait must bear 
the absolute resemblance to the actor playing that 
role). A folding stool, a box of colors, a pot with 
brushes near the easel, a pallet. Scattered on the 
stage, or hung on the walls are a few rough 
sketches, among which the Venus of Milo and Dia- 
na the Huntress. A few utensils such as are used by 
painters and poets complete the tableau, that is to 
say the furnishings of the Mansard-room indicate 
that it is the abode of two artists as rich in illu- 
sions as they are poor in what constitutes either 
their wardrobe or furniture. It is day light. At the 
rising of the curtain Gustave and Richard appear 
on the stage Clothes out of fashion and shrunken 
trousers, Richard giving the last strokes to the por- 
trait of Mr. Judas and Gustave writing on sheet* 
of paper, now and then tearing and throwing some 
in the waste basket. 



No. I. MUSIC (according to parts) 

GUST AVE 

I fancy that beautiful look 
a token of passionate love, 
far brighter than stars from above 
Why sadden my desperate love 
like a page of a sorrowful book 
my playmate of sunshiny days 
my companion of out door plays 
I crave for your wonderful look 
far brighter than stars from above 
that kindle the passions of love 

My sweetheart Betsypol 
My pretty brunette doll 
I love to gaze at your cheeks of roses 

Black eyes that haunt me so 
My heart beats fast or slow 
a world of Imppiness in store reposes; 
(The music stops) 



SPOKEN 

GUST AVE — (Tearing another sheet of paper 
which he throws in the basket) There goes the 
third! And nothing! It makes me green! 

RICHARD — (continuing to paint) If you want, I 
can paint you of another shade. Don't miss the 
chance! 

GUSTAVE — Leave me in peace, old chum; there 
are days when I cannot make even a miserable 
song. 

RICHARD — Yet, that bit you were singing a mo- 
ment ago was very pretty. 

GUSTAVE — It is magnificent. And that is just 
what makes me half crazy. I have been cudgel- 
ling my brain for the last three days trying to 
find a suitable motive where I could introduce 
these songs Henry has given me. 

RICHARD — Henry? 

GUSTAVE — Yes, Henry PeYez. my collaborator. 
Just imagine! He has been requested to furnish 
a work cf magic to the Eslava theatre; and the 
lazy dog has given his songs to the music di- 
rector who is already making the repetitions with 
the actresses, while neither he nor I have so far 
written a single scene. 

RICHARD — Well, old man, if you have given 
your word! 

GUSTAVE — Worse yet! Henry has even received 
an account. 

RICHARD — By Jove! he has got nerve! 



•GUST AVE — Oh he has brass! (Taking again his 
papers) It is impossible!.. Those verses rhyme 
like hair in the soup! 

RICHARD — Say! Why don't you start a review? 

GUSTAVE — Not on my life! The public does not 
dote on reviews. I. must make something origin- 
al, very original. 

RICHARD — You don't want much! My head la 
swollen to bursting from knocking it searching 
an original subject for a painting. 

GUSTAVE — I believe it! — It is 1 p. m. now and 
we have eaten nothing but the fourth of a small 
loaf and we drank but a coffee yet. 

RICHARD — That is to say we have our stomachs 
in our heels. Ha, ha, ha, (he laughs) 

GUSTAVE — I can't understand how you have the 
courage to laugh. 

RICHARD — (Rising) Try to have a little chat 
with the neighbor opposite: it will refresh your 
imagination. 

GUSTAVE — With Miss Philomene? I did look 
through the window a while ago; but she was 
not on her balcony. They claim she is very rich. 

RICHARD — So much the better! Try to make her 
fall in love 

GUSTAVE — - Really, now, do you think there is 
a chance for me, by my attentions, to make an 
impression?.. But what is the use? There is no 
such luck for me! 

RICHARD — Courage, Gustave! There is still some 
reserve of gray matter in my brain! Follow my 
example, and after all we have here the portrait 
of Mr. Judas to prevent the landlord from break- 
ing our heads; and we may yet have the great 
good luck to obtain a three months extension of 
our lease in this temple of Art. 

GUSTAVE — Let us hope so! But this temple (he 
points at his stomach) is not so easily restored. 

RICHARD — Come here, look! look at my Judas; 
you see: it is almost finished. 

GUSTAVE — (Rising, goes to the easel) — Eh, 
old boy, you are a great artist! One would swear 
he is alive! 

RICHARD — You said it: while I was painting hia 
mouth, it seemed to say: "If you don't pay your 
rent, I thrash you!" 

GUSTAVE — It is sublime! It is monstrous! 

RICHARD — Not at all, my friend. It is very easy. 

GUSTAVE — It is beyond comprehension! To make 
a portrait by heart! 

RICHARD — (Rising) Oh! nothing surprising 
about that! A character that we find at every 
turn, even in the soup... when we have some! A 
man who, for a miserly three months'rent has 



8 



dogged cur very steps! I do know hiin by heart! 
(The bell rings), 

GUST AVE — ■ Get ready! We have him on our 
shoulders now! (He walks back and forth, un- 
certain as to what to do, sit down or hide away. 

RICHARD — When you speak of the wolf, you 
see his tail... (He acts in the same manner aa 
Gustave. — (Looks through the peep-hole). 

RICHARD — (whispers) Is it really the landlord? 

GUSTAVE — In flesh and bones! 

RICHARD — Ouch! What a shock, old chum! (the 
bell rings again). 

GUSTAVE — And to-day he sports a stick as big 
as Hercules' club. 

RICHARD — (as if seeking a supreme resource, 
meditates, then taps his forehead and says to 
Gustave: I have it!.... Answer, but don't open! 

Mr, JUDAS — (from outside) Open, Mr. the daub- 
maker. (Rings the bell a third time). 

GUSTAVE — I'm coming. 

RICHARD — (Takes up the pallet and the brushes 
nervously, goes to the peep-hole, looks, then 
runs to his portrait giving vertiginous strokes 
with his brushes. Repeats the performance 
several times. 

Mr. JUDAS — Eh! there! Are you trying to make a 
fool of me? Open, open, you, manufacturers cf 
blind men's placards. 

GUSTAVE — I'm coming! 

Mr. JUDAS — Rascals! Rogues! wretches! 

GUSTAVE — I'm coming, I tell you! (To Richard) 
You go! (Aloud) Go! (Aside) What a shower 
of blows we're going to get! 

RICHARD — (Very loud) We are getting dressed) 

Mr. JUDAS — (Outside) If you don't open quick, 
I am going to undress you, wait!... 
(The bell rings a fourth time, jerking much 
more energically. 

RICHARD — (Shouting) Wait a while; we are 
nearly through! (Aside) My word! he is going 
to break that bell! 

GUSTAVE — Oh that would not be much; but he 
is coming to throw us out! 

RICHARD — Well, it is finished! Thank God! (To 
Gustavo) Go and hide! (They open the door 
with great caution, and remain hidden behind it. 



SECOND SCENE 

The same and Mr. Judas. 

Mr. JUDAS — (Enters, a stick in one hand and a 
bottle of champagne in the other). We must 
make an end of this. (He reaches to the center 
of the stage. Richard and Gustave get out hur- 
riedly, closing the door softly behind them: Mr. 
Judas, furious, is trying to find them). If you make 
me wait any longer, I burst that door, (A pause), 
Where in the deuce are those rascals hiding? (He 
looks everywhere all the while talking as if to 
them) Are you making fun of me? Look here! it 
will end badly, (keeps up hunting up on the stage 
until his eyes rest on the portrait. Fear, surprise, 
wonder are read on his countenance as he is won- 
dering whether or not he sees his own physionomy 
in a mirror. His expression softens and he says with 
calm: By Jove! that individual here, it is me! Well 
well! (Gustave and Richard look cautiously throu' 
the door) 

GUSTAVE — What is he doing? 
RICHARD — Sh....sh.... It seems to me that the 
trick has worked out all right. (He enters with 
Gustave and they walk until they stand behind 
Mr. Judas.) 
Mr. JUDAS — (Talking to himself) That little 
devil! (Unconscious that they are listening) But 
how in the world could he have copied me 10 
faithfully? 
GUSTAVE — Isn't it wonderful, really? 
Mr. JUDAS — (recovering from his surprise) Eh? 
(He looks at them bewildered, hesitating be- 
tween the impulse to scold them and the desire 
to flatter them). I was not expecting that. 
RICHARD — And I was not expecting you either. 
Mr. JUDAS — Let us shake hands, my young 
friend; You have touched the most responsive 
chord in my system. "Why?'', you may ask 
Well, because you have succeeded in doing what 
neither photographers or artists ever could do... 
I am 46 years old and... 
GUSTAVE — (Aside) Adding to it the nursing 

months... 
Mr. JUDAS — ...I never had before a portrait to 
satisfy me; but this one really flatters my vani- 
ty.... It looks so real, just as if I were talking. 
RICHARD — Yet there is something lacking. 
Mr. JUDAS — What? 
RICHARD — The receipt for the rent. 
Mr. JUDAS. — One or all? 



10 



RICHARD — That depends on your generosity. 

Mr. JUDAS — Well, all right! I imagine that this 
masterpiece was not made to be raffled amonc 
the tenants? 

RICHARD — (Aside) Good business. (Aloud) Oh,, 
my! no! 

GUSTAVE — Well, you see, as we could not find 
the way to pay you... 

RICHARD — And as to-day is exactly your birth- 
day... 

Mr. JUDAS — (Aside) Poor devil! (Aloud) I see.. 
I understand. I guessed the fine intention; and 
now you will see how the landlord you were so 
afraid of can act. (He places the bottle on the 
table and draws from his pocket three receipts 
which he gives to Richard) Here are the three 
receipts and also these (giving him some bank- 
notes) five dollars to drink my health. 

GUSTAVE — Mr. Judas, you are the very best of 
all landlords! the most truly socialist on earth! 

RICHARD — Most likely the only one! 

Mr. JUDAS — All right, young men; all right; but 
don't let the other tenants know anything of 
this; otherwise my ruin is certain. I cannot re- 
main longer; but later I shall send for the por- 
trait, What a surprise it will be for my wife! 
She also is dabbling in colors, and believes to 
understand art; but the poor old soul has not 
the hand very sure. It is at times quite amusing 
to me. Yesterday, she tried to paint a study of 
Alcala Street at the exit from the bull-fight; and 
do you know what it looked like? 

RICHARD — No. What? 

GUST ATE — How could I guess? 

Mr. JUDAS — Like the earthquake of Messina. 

RICH. & GUST, (laughing) Ha, ha, ha! 

Mr. JUDAS — Well, I must be going 

RICHARD — A thousand thanks and a good, hap- 
py birthday! 

GUSTAVE (Opens the door politely, making a deep 
courtesy) Make way for the illustrous Mecene. 

Mr. JUDAS — Don't disturb yourselves, gentlemen 
Good bye. 

GUSTAVE — (Closes the door) Richard, let me 
kiss you (does it) You are a wonder. 

RICHARD — Didn't I tell you? You see, five dol- 
lars and the rent paid. 

GUSTAVE — (Looking at the bottle of champagne 
that Mr. Judas left on the table) Where did that 
come from? ■ . . , 

RICHARD — A bottle of champagne (Takes ft). 

GUSTAVE — To-day is certainly our lucky dayf 
Bring it here! 



I [ 



RICHARD — Wait, it belongs most likely to Mr. 

Judas. 
GUST AVE — Then he may as well reckon without 

it now. Long live the landlord! (They uncork 

the bottle and begin drinking with avidity) We 

must empty it before he returns for it. 
RICHARD — Eh, there! Don't you know that 

champagne harms you when your stomach is 

empty? Bring it here. (He drinks). 
GUSTAVE — What delicious warmth I feel in m? 

stomach! Long live Mr. Judas! 
RICHARD — Hurrah! (The bell rings). 
GUSTAVE — Who is it? (Gets nearer the door and 

looks). Yes, it is Rita. Long live the janitor's 

daughter! 



SCENE II. 
THE SAME AND RITA 



RICHARD — Hurrah! and long live Mr. Judas r 

RICH. & GUST. — Hurrah! 

RITA — (Enters) What is the matter? Why all 
this racket? Are you tipsy? 

GUSTAVE — Tipsy? (He puts the bottle to her 
lips) Drink! 

RITA — (Drinks a mouthful and spits it out in 
disgust ). I am sure I saw this bottle a moment 
ago when Miss Philomena gave it to Mr. Judas, 
They were just speaking about you when I pass- 
ed her door. 

GUSTAVE — That is why we are now drinking 
the health of the charming Miss Philomena. 

RITA — Oh la la... what a fine load you have, 
both of you! 

RICHARD — May be we have. (He dances with 
Gustave). 

RITA — Well, well! I declare! Can we tind out 
the reason for all this racket? 

RICHARD — Certainly! It's because Mr. Judas 
after giving us the receipts for three months' 
back rent, has given us five dollars to boot, and 
forgot that bottle of champagne, we are drinking. 

RITA — A miracle, sure enough! What story are 
you trying to tell me, anyway? 

GUSTAVE — It is just as he says. 

RITA — Then tell it to somebody else, because I 
know better than to believe in Mr # Judas' lapses 
of memory or in that wine jumbling. 

RICHARD — Really? Come here, then. (He takes 
her by the arm and shows her the portrait). 



KIT A (Makes the sign of the cross, is bewildered) 

— What foolishness is this? 

RICHARD — What do you think of it? 

RITA — Mercy! what schemes you concoct to avoid 

working!.... 
GUS. & RICH. — (Laughing) Ha, ha, ha. 
RITA — Well, I came to take the coffee service. 

(She takes it) 
RICHARD — Ail right. When you take it down, 

please tell them to send us up two dinners at 

one dollar per cover. Take this to pay. (Gives 

her the banknote). 
GUSTAVE — Wouldn't it be better to go to the 

"Petit Fourneau"? 
RICHARD — I don 't intend to go out on the street 

in tights during the day. (Points at his trousers) 

This evening we shall go out. 
GUSTAVE — It is settled, then. The champagne 

seems to go to my head. 
RICHARD ■ — Naturally, with an empty stomach! 
RITA — Well, I must be going. (Moves) 
GUSTAVE — Go; but do the same as the swallows 

— return soon! 
-RICHARD — Say, go easy with that stuff: there is 

but very little of it left. 
GUSTAVE — Oh, come on! Let us finish it. (They 

drink until the bottle is empty) # 
RICHARD — (staggers, and falls 'on the folding 

bed) My devotion to turpentine and champagne 

is such that it upsets me. 
GUSTAVE — Eh, my dear boy, are you drunk? 

fHe a 7 so staggers). 
RICHARD — Nearly as much as you are. (Looks 

at the portrait) Mr. Judas is winking at us... 
•GUSTAVE — That's so. He seems to say: ''The 

miserables! They didn't leave me a single drop!'' 

(He goes tottering to the table and sits down) 

There is no denying it: champagne is the king 

•of wines; it gives inspiration. (Pause) (Thinks 

a moment) Eureka! 
RICHARD — What is the big find? 
GUSTAVE — I have a title. 
RICHARD — Baronet or marquis? 
GUSTAVE — A title for my work. 
RICHARD — And what is it? 
GUSTAVE — Diana the Huntress, 
RICHARD — Are you actually going to make pro- 
fit out of my portrait? Then, you know, my dear 

fellow, it will be fifty-fifty, 
GUSTAVE — All that I need now is the Muse who 

inspires my thoughts to come to my help. (His 

head drops on the table again and he sleeps) 



«3 

RICHARD — (describes a few zigzags; then falls 
to the floor) That is it.... let the Muse come.... 
bring the Muse to me... bring the mass... I say, 
the Muse.... (He remains asleep). 



SCENE IV. 

THE SAME and PHYLLIS in fancy costume and a 

symbolic wand. She goes out by the rear of ths 

stage, behind Diana's statue. 

No. (bis) MUSIC (According to parts. >> 

During the whole scene, the music is on the work's 
motive. Chord in confuse, rumbling tone 

PHYLLIS — (Reaches where Custave lies and she 

wakes him) Gustave, wake up. 
GUSTAYE — (awakening) Eh? What is it? (H* 

remains very surprised to see her.) 
PHYLLIS — I am Phyllis, your protecting Muse, 

coming in all haste to do your bidding. Speak I 

What is your desire? 
GUSTAYE — A suitable argument for seven songs 

that drive me crazy. 
PHYLLIS — Then follow me and you shall fiiu"r 

what you desire. 
GUSTAYE — And where am I going thus fasting? 
PHYLLIS — To the Olympus, to the Parnassus. 
GUSTAYE — Really? Do you hear, Richard? I 

have already what I was lacking. But what arc? 

you doing? Are you asleep (He shakes him to 

wake him up). I am going to the Olympus' 

Wake up! 
RICHARD — (Rises. Dreams aloud) What are you, 

saying, my friend? 
GUSTAYE — That Phyllis, my muse, is here. Thar 

the Muse is already here. 
RICHARD — (half as'eep) What do you say? That 

the mass is over? let us go, let us go to break- 
fast! 
PHYLLIS — Wake up, because I came to seek 

thee also. 
RICHARD — (Arises and remains dumbfounded > 

By Jove! What is this pretty lady doing here? 
PHYLLIS — I am your Muse. 
RICHARD — One Muse for both of us? 
PHYLLIS — Thou needest also a subject for * 

painting to give thee a place amongst the great 

masters. 



RICHARD — Certainly; but?.... 
PHYLLIS — Obey and follow me. 
RICHARD — Where are we going? 
PHYLLIS — To the Olympus r 

RICHARD — We follow, even shoulds't thou lead 
us to hades. 



SECOND TABLEAU 

SCENERY 

AUREOLA 

Everything, background of stage, clouds, pedestals, 
^capitals, etc., according to taste of the stage de- 
corator. When the curtain rises, all the personages 
appear, except Phyllis, Gustave and Richard. All 
together they form a plastic group, while each 
personage retains the classic pose attributed to 
them in famous masterpieces. That is to say: Bac- 
chtts on a barrel, in tights, with a red cloak, the 
head crowned with grapeleaves and bunches of 
grapes. In his right hand a bottle of champagne 
and in his left hand a drinking cup. To his right, 
'Venus, with her arms crossed behind her back. 
Grecian hairdress and cloak. (A few cupids around 
her, these with bow and arrows, aiming at Adonis, 
who shall be at the right of Venus.) At the left of 
Bacchus, Diana who shall be represented releasing 
her dogs; at her left, Apollo with his fiddle and his 
goat skin. Mercury with his winged helmet on his 
head, stretched on the soil, below Bacchus The 
tableau is completed with the Chorus, at selection. 
.oi the stage manager. 

| No. 2 MUSIC (according to parts) 

Venus comes to th.e front to sing: 



CHOIR 

Mid summer's light and shady trees 
fill all my thoughts with fairy dreams 
Grecian scenes pervade my spirit 
with great delight. 

VENUS 

Mid summer's night 
with fauns and nymphs 
through the moonbright woods 
in homeward flight 
Visions of the graceful maids 



i5 



and suitors merry prattle 
"moving in majestic moods 
like eolian brides 
I love to dream of ancient thi 
sad tales of love of queens and kings 
When I awoke I longed for you 
you must love me I cherish you. 
In winter sad birds fly away 
to come again some springtime day- 
wabbling songs of praise and beauty 
with bounds of joy. 

CHOIR 

Nature revives 

hills and fields are clad 

anew with bands 

of flowers and green. 

VENUS 

Nature proclaims eternal peace 
on earth 'tis but a dream. 
Apollo plays his magic flute 
to the wondrous scene 
The golden age has long gone by 
Adonis weeps my parting sigh. 
When I awoke I cherished you 
you must love me as I love you. 
Music No. 2 B. — Bacchanal trance of Faims and 
Nymphs. 

CONVERSATION 

The same and Phyllis who enters from the right. 
PHYLLIS — Hail! Gods of the Olympus! Hail! 
BACCHUS — Welcome among us. Phyllis! What 

is thy desire? 
PHYLLIS — Two men of genius, two artists who 

are as yet unknown, have pretentions to enter 

the Olympus. 
BACCHUS — What do they desire? 
PHYLLIS — That you take them under your aegis 

They are my protegees and I desire that you 

grant them the favor they seek. 
BACCHUS — Let them come! 
PHYLLIS — (Calling at the door through which 

she came) Come in! (Richard and Gustave come 
RICHARD — Hail, Immortal Gods! Hail and 

greetings! (He bows). 
GUSTAVE — My Boy! How many beauties! 
PHYLLIS — You are in the Olympus. Those are 
*the Gods of the Mythology, so often quoted by 

sculptors, poets and artists. See what a differ- 



i6 



ence. You (to Richard) you have now a good 
chance to study them thoroughly and copy them 
with all their perfections; and, when you shall 
return on earth, you will be able to refute the 
false conceptions of the inhabitants of the world 
Here is Bacchus, the God of the drunkards; 
there, Diana, goddess of the hunters; here, Ve- 
nus, goddess of beauty. There, stretched on the 
ground, is Mercury, god of commerce; this one 
is Adonis; this other is Apollo. 

GUST AVE — (Interrupting) And Comedy? 

RICHARD — She was burned, don't you remember? 

GUSTAVE — What are you talking about! What I 
ask is about MY comedy, a subject for it, be- 
cause I don't find anything for the purpose here. 
You have of course, some fine subjects for your 
paintings; you can make, beautifully, from the 
original, the portrait of Apollo, of Bacchus... but 
as for me.... 

PHYLLIS — Be patient, for you shall find what 
you are looking for < Well, now, I am going; I 
leave you here; when you shall need me, you 
will find me at your side. (She goes) 



SCENE II. 
The same, except Phyllis 

RICHARD — O Gods! You cannot imagine the 
honor we feel in this moment for having been re- 
ceived thus, without the least objection. In return, 
you cannot complain of the honor given you everj 7 - 
where by our brothers, the inhabitants of earth. 
On our planet, you are represented in every place 
by statues, paintings and monuments; the most 
gallant of our poets have dedicated to you verses. 
ballads, and sonnets which have immortalized their 
names. Thou (to Bacchus) thou art one of the gods 
who count the most devotees. Velasquez, the fa- 
mous painter, made thee a tableau; and for this 
bronze statues have been erected in his honor. 
Without thee, genius does not shine; without thee 
joy is impossible. Thou art, O great drunkard, the 
inspirator who gives to the most timid a flow of 
eloquence. When devoted to thy cult, the poet 
finds inspiration, the painter attains glory. .. 

GUSTAVE — (Aside) ..Or the cooler 

RICHARD — O great and phenomenal drunk- 
ard, protect us! 

BACCHUS — (Comes down from his barrel) I 
have heard your eloquent little speech with great 
pleasure. You can't deny that you are a Yankee. 



17 

Thanks for the hymn of praises you sang in my 
honor and you can depend on my protection and 
that of my colleagues of the Olympus. You were 
seeking on earth the subjects for your works, hop- 
ing therewith to gain fame; and Phyllis, my friend, 
brought you here in the hope you would find the 
magic stone. Phyllis does not know that we are al- 
most like you. The smallest inconvenient disturbs 
us, and we make terrible rackets. Here, now is 
Diana who wants to leave us; she is in revolt and 
wants to forsake the Olympus. 

GUSTAVE — Oh!... Then it is you, Diana? 

DIANA — In person. Do I please you? (She 
leans coquettishly on Gustave). 

GUSTAVE — (Takes her hands in his) I should 
say! My word! That is SOME Diana! 

BACCHUS — What are you doing, miserable?! 
Here, you are permitted only to see and to hear. 

GUSTAVE — Then we cannot touch? 

Bx^CCHUS — No! and Diana especially! We have 
had many disputes on that very point. Diana, by 
nature, is voluptuous; only a short time ago, she 
fell in love with Adonis. Venus, in a jealous rage, 
grabbed her hair, and you cannot imagine the time 
we had to put them apart. Both came out of the 
fight rather damaged and battered; and it is only 
thanks to Mercury that the matter did not end 
more tragically. 

RICHARD — I see! It is perhaps in that battle 
that Venus lost her arms. 

VENUS — (Coming near to Richard) That, my 
boy, it is a greek story. 

BACCHUS — Venus has lost nothing. Adonla, 
though, has shot his bolt 

GUSTAVE — His... what? (Those of the chorus 
take their positions to form a half-circle.) 

RICHARD — His bolt. 

GUSTAVE (To Diana) So that this little heart... 

DIANA — Is sighing for love. 

GUSTAVE — Have you never, in your hunting 
adventures, caught any handsome boy or audacious 
hunter who aimed his darts at your beauty? 

DIANA — None ever touched me. 

GUSTAVE — Probably because their aim was 
poor 

RICHARD (To Venus) In the world your beauty 
reigns, and you, its goddess, would be welcomed 
with enthusiasm. From the most powerful poten- 
tate to the most abject of mortals, all would be 
your willing slaves. 

VENUS — Why don't you take me with you? 

RICHARD — With this dress?.. My dear, you 
don 't know what you are saying. 

BACCHUS — (Aside and watching Richard and 



i3 



Gustave) These fellows are planning some trick. 

It will be a miracle if what I think does not occur. 

GUSTAVE You really want to leave the Olympus? 

DIANA — Yes, take me with you in the world. 

GUSTAVE — You will have to get modernized. 

DIANA — All right; I will do so 

VENUS — What is it you call modern? 

GUSTAVE — * Modernism? Weil? all things that 
are the latest: socialism, free love... Listen. (This 
last word is omitted if No. 3 is not sung). 

No. 3 MUSIC (according to parts) 



GUSTAVE 

There's quite a progress of feminism 

in which they're making enormous display 

and it's true they're well to do 

striving hard to make their rights prevail. 

Many are leaving husband and family 

to fight the laws and attain public note 

haughtily imposing their dilemma 

pretending to be free from tutorship 

Give them a hearing before repealing 

to organize human things as they wish 

then you'll see our ladies vote 

for control of equal rights for both, 

Delightful joys of emancipation 

happy the one who receives their caress 

home sweet home may bring then to confession 

'tis preferable to reign a family throne. 

May we propose to take a trip 

and fly direct to Monaco 

A world's resort for modern sport 

Where fashion reigns in pleasure dreams 

We '11 take that in to make the best of life. 



CONVERSATION 

GUSTAVE — (To Richard) What are we going 
to do with these masterpieces? 

RICHARD — We shall put them in exhibition, 
old boy. Varieties are the rage of the hour. We 
will make a fortune. 

GUSTAVE — And my subject? 

RICHARD — What other subject do you want 
but that of being rich? 

GUSTAVE — You are right. (To Diana) Can 
you sing? 

DIANA — Like the birds in the forest. You will 
hear. 



"9 



GUSTAVE — What are ycu going to sing me? 
DIANA — The ballad of the huntsman. 

No. 4 MUSIC (According to parts) 



DIANA 

Heavens bright, Sunny skies and country 
with surrounding woods and foliage 
at the hillsides in the distance 
cast in scenery full of charm. 
The men while hunting game 
make good lovers all the same 
explore the woods to find us 
by some hidden country lane. 
They go hunting as it were 
for the sake recreation, 
when they miss a passing hare 
'tis sure to make a great sensation, 
Down the valley come the gamesters 
riding swiftly to the forest 
with the hounds and trumpets sounding 
in pursuit of stag surrounding. 
Take aim and fire, bang! they've shot it! 
a young deer the hounds have got it 
whether partridge hare or rabbit 
'tis a prize the hunters covet. 

GUSTAVE 

The Goddess of the woods approaches 
a figure full of charm and beauty 
come here my friends and fill your pouches 
with the game and bring the trophy. 

DIANA 

Let us feast in yonder plain 
rejoicing to our hearts content 
and spend the day in lovers lane 
at my retreat in merriment. 

CONVERSATION 

RICHARD — Fine piece, worthy of an artist. 

GUSTAVE — Fine! But, silence! and let us re- 
turn to the world! You will create a revolution. 
You, Venus, with your charms and Diana with her 
sonnets and ballads, we shall be masters of the 
universe. 

ADONIS — (In a languorous, effiminate voice) 
Tell me, mortal; do you think I would succeed too, 
in the world? 



20 



RICHARD — You certainly would, you darling! 

MERCURY — And I? 

GUSTAVE — You? We will need you immensely. 
(He offers his arm to Diana.) Lean on my arm, 
my dove. 

RICHARD — Let us leave him now, (He takes 
Venus and Mercury by the arm). 

DIANA — Let us go! (Richard, Venus, Mercury, 
Diana, Adonis and Gustave walk away. The others 
shout, protesting loudly.) 

BACCHUS — Eh! there! where are you going? 
We don't go out of here! 

GUSTAVE — (Pushing back Bacchus) Get out 
of the way, you, drunken cur! 

BACCHUS — Gods! We are robbed... 

APOLLO — Be quiet, my friends! These two 
miserables don't know what they are doing. They 
won't be long in getting their punishment. They 
are taking away the two worse goddesses of the 
Olympus. From now on we shall have peace. 

BACCHUS — But I won't allow.... 

VOICES — Neither will I! Let us run after them. 



3rd TABLEAU 

SCENERY 

A short curtain of clouds while the No. 5 is played. 
Intermezzo, an aeroplane appears on the right, and 
in it are painted Venus, Diana, Gustave and Ri- 
chard. The aeroplane crosses the stage. 



It 

SECOND ACT 

FIRST TABLEAU 

SCENERY 

The stage represents a terrace facing a great 
hotel, near the Casino at Monte Carlo. Here and 
there, on the stage are tables with clothes spread. 
When the curtain rises two or three chorus ladies 
elegantly gowned, appear at the tables with two or 
three gentlemen in frock or Prince Albert. Seated 
at a table, on the right, is Mr. Clary, reading news- 
papers. GUSTAVE et RICHARD come on the stage 
from the right. On the left is a reception and danse 
hall (diagonally placed) with views on the ter- 
race, facing a small stage where gypsies are play- 
ing. From the left PHILOMENE and RITA make 
their entrance and sit in said reception room on 
rocking-chairs or sofas. From the opposite side, 
GUSTAVE and RICHARD go to meet them. 

CONVERSATION 

GUSTAVE (To Philomene) What a fortunate 
meeting! (They appear to speak together) 

RICHARD (To Rita) What a surprise! You at 
Monte Carlo?! 

MUSIC (The waltz no. 5 A begins.) 

RITA — Yes, Miss Philomene has invited me 
to accompany her when she decided to come here. 

RICHARD — (To Rita) Don't you dance? 

(As indicated by the prompter) 

RITA 

I cherish the country 

when flowers grow wild 

I fancy a spirited horse when I ride 

through the park in the morning breeze, 

GUSTAVE — (To Philomene) And you, don't 
you love to dance? 
PHILOMENE — If it pleases you.. (They dance) 

PHILOMENE 

A life with pleasant moments 
A secret to impart 

brings comfort to a maiden's heart 

A sigh will make companions 

A smile will cure a soul 

A winning heart may covet both. 



22 



SPECIALS 
DUET: GUST AVE and F1L0MENE 

Wearied and lonesome I wandered 
Searching the valiies for you 
Cheerless at times I would wonder 
If we ever should meet anew. 

Come to the valiies of Egypt 
To live the romances of old 
I will adore you like Eva 
And love you for ever tenfold 

Come to the garden of Eden 
Where the stars shine brightest above 
Among the wonders of nature 
And dwell at the fountain of love 

Come to the temple of Vestas 
To write on its Altars of gold 
Another page sweet and tender 
Of a tale ten thousand years old, 

Return to me sweet love 
In godly splendour 
My heart and soul to you 
Gladly surrender. 

Be my armshield 
Be my shelter 
Be welcome sweet 
Return. . 



DUET: RICHARD and RITA 

The cap I dreamt he used to wear 
In feathers bound with trim and lace 
Beneath its rim his locks of hair 
Where shading added whim and grace 
His chastened smile so true and fair 
His faultless nose and winning: face 
In oval eyes so pretty where 
Love's shadow found a resting place. 
His build and bearing, soul of race 
A cheerful heart which brings delight 
His stateliness and manly grace 
A feathered knight, a marvel quite. 

He danced with me in love's embrace 
His eyes in mine loomed bold and bright 
While music whispered sweet lovelace 
He loved me to my heart's delight. 

RICHARD — What do you think of this, younfe 
ladies? 

GUSTAVE — Thai's the life! Here, one can 
breathe. Look! What luxury! 

PHILOMENE — What I am noticing is, that all 
the waiters are bald. 



23 



RITA — 'Tis true. Tlieso french people really do 
know how to do things: the fastidious will not 
find hair in the soup here. 

RICHARD — Have you noticed how well Venus 
has performed this afternoon, during the repetition 
of the number you wrote for her debut? 

GUSTAVE — I would be greatly pleased indeed 
if it should prove a big success and establish my 
reputation, 

RICHARD — And as yo^u don't know what to 
do with your songs, you scatter them everywhere. 

GUSTAVE — Exactly; I have only now the end 
of my comedy. 

RICHARD — (He calls the waiter clapping his 
hands twice.) Do you know that, with all these 
emotions, I am as hungry as a wolf. 

GUSTAVE — I have good appetite, too. 

RITA — The sport is my delight! 

RICHARD — You told me so when we were 
dancing. 

PHILOMENE — For my part, I love poetry, art 
and music! 

GUSTAVE — And I love all that which the hu- 
man imagination has created of beautiful. I love 
Greece for the purety of the lines and for poetry; 
Egypt, for the faint, far-aw3y remembrances of the 
pagan legend and the cradle of religions; India, 
for the mystic, essence of life that the soul con- 
tains, mysteriously agitating the mind to make us 
feel pleasure, admiration, unfathomable desires, il- 
lusions and love. 

PHILOMENE — It is a desire of that kind I am 
having now; it is the star that guides my hopes. 

GUSTAVE — And what guides me is a star of 
infinite magnitude. 

RICHARD — It is perhaps the star that once 
guided the Wise Men employing now its time in 
Leading toward pure love. Don't let your stars col- 
lide, with us underneath at the time of the explo- 
sion... your bethrotal would be off... 

WAITER — Que voulez-vous? Vouat dou you 
leik? Che cosa volete? Quio vi deciras? 

RICHARD — Well, old boy! It is wonderful! the 
waiters speak four languages.., 

GUSTAVE — Yes, except Spanish... Everybody 
has forgotten it. 

WAITER — I speak it, too. What do you desire? 

RICHARD — The list, the menu. 

WAITER — (Makes a deep bow, remaining in 
that position) Here it Is! 

RICHARD — He takes us for two Russian prin- 
ces. Eh? my friend (Aside) Even with all his lan- 
guages, this fellow did not understand me. (Aloud) 
The bill of fare, la lista de la comida. 



24 

WAITER — Points with his finger to his ivory 
dome.) Here it is. 

RICHARD — Keep still... it is true. (Looks 
fixedly) What a funny idea! 

GUSTAVE — Original assuredly. 

WAITER — And hygienic besides. 

RICHARD — My friend, don't bend, I pray you; 
it gives me a pain to see you in that posture. 

WAITER — Oh, I am used to it. 

RICHARD — All right, then! (He takes his 
head and reads.) Menu: Consomme\ fish a la Ge- 
noese, partridges; Desserts, melon. Wines, etc 
(without reading) What do you think of it? (The 
waiter goes.) 

GUSTAVE — The bill of fare suits me. I won- 
der if he will forget some course? 

RICHARD — How could he forget anything, 
when he has it all in his head? (The sound of a 
tam-tam is heard and Clary appears on the scene. 

CLARY — Finally, we begin the programme; 
it has good appearance. Gentlemen, the represen- 
tation is about to begin. First part: Venus' debut, 
with her oriental sons:. Great success. (Moves.) 
(The waiter serves PHILO., RITA, GUSTAVE and 
RICHARD. ) 

(The BARONET and the MARQUIS arrive and 
sit at another table.) 

No. 6 MUSIC (according to parts.) 

Venus attired as the Sultan's favorite (a blond 

Circassian; she sings.) The orchestra of Gypsies 

makes a pretense to play. 



VENUS 

Sultan Ali in a mood 

quite so rude, very rude 

Had us guarded in his Palace 

to be good, very good. 

When I laugh when I sing 

palace chimes gleefully ring 

Pretty maid stay all day 

lounging at the fountain spray. 

With laces waving gay 

I love to dance 

like flowers that bend and sway 

in loving trance. 

My Lord is pleased to day 



one tender glance, 

treasures and realm he 'd pay 

to see me dance. 

A rose of oriental beauty 

sought to fascinate a Prince 

smiling deplets, lips of ruby 

made him turn to sorrow since. 

Pearls and chatels, gems of beauty 

may I covet to convince 

your Grace to love me 'tis your duty 

come and kiss me haughty Prince 

Crescent Princess of my love dream 

shines most clearly 

sunlight of my soul, my sunbeam 

Loves me dearly. 

(General motion. All applaud and VENUS goes.} 



CONVERSATION 

BARON — Oh! the fairest of women! 

MARQUIS — The manager of the show, Mr. 
Clary, affirms that she is a goddess who ran away 
from the Olympus. 

BARON — In fact, one would think she is an 
Arabian Venus. 

MARQUIS — Are you on good terms with the 
manager? 

BARON — The same as I am with you. Why? 

MARQUIS — Because.... , my friend, that wo- 
man pleases me immensely. (They keep on talking 
for a while, then they move away.) 

No. 7 MUSIC (according to parts.) 

DIANA sings in fancy dress, as that of a fal- 
coner of the Middle ages or la Gioconda, or For- 
narine, .with an helmet and a red cloak, bordered 
with ermine, 



DIANA 

My heart was born In freedom bound 
a forest queen with lance and steed 
to break the spell of tyrants creed 
to rove the fields with coursing hound 
at my commanding trumpet sound, 
The thrilling hunters scene 
and driving of the game, 
the struggle for fame 
and display of youth 
in reaching the booth 



26 



in the forest by the sea. 
Temple of truth plead for me 
0, fountain of youth and liberty 

Invite the maids to welcome me 

in the forest near by the sea. 

(She makes motions. All applaud Diana.) 



CONVERSATION 

CLARY — (With pronounced french accent) 
Perfectly. It works as fine as silk. The debuts of 
Venus and Diana will be the hits of the show. We 
only need another "tableau vivant' 7 to have a com- 
plete success.. .. 

1st WAITER (Coming to Clary) Mr. Clary.... 

CLARY — What is it? 

WAITER — A gentleman who claims he is a 
genius desires to speak with the manager of the 
show. 

CLARY — Show him in (The waiter goes.) It 
would be funny if I were to find exactly what I 
am looking for. 

WAITER — (going out with Octave Ranilla.) 
Here is Mr. Clary. 

RANILLA — Thanks. (He approaches Clary. The 
waiter remains on the stage to adjust some tables) 
Have I the honor to speak to the manager of the 
spectacle of Monte Carlo? 

CLARY — Precisely, sir. Please take a seat 
(Aside.) What a funny fellow! (Sits down.) 

RANILLA — I wonder if you have the honor to 
know me? 

CLARY — No, sir; it is the first time... 

RANILLA — It often occurs thus; great men 
like me remain frequently ignored; but it is only 
fair that they should, at times, put themselves in 
evidence. 

CLARY — Perfectly^ (Aside) There must be 
some wheel loose in his head. 

RANILLA — I am a modernist poet and I am 
giving myself to the writing of historical panto- 
mimes. 

CLARY — Pantomimes are not new; but if they 
are original.... 

RANILLA — Original? Even too much so! Well, 
I am bringing you one here that is bound to please 
you. 

CLARY — Let us see.... 

RANILLA — (Digs in his pockets and brings 
forth a greasy writing tablet.) You see what I have 
here? (Clary nods assent.) Well, I first had to take 
it out of here. (Indicates his head.) Could you 



27 

order for me a jug of iced beer? You see, my 
throat gets parched and dry, while reading. 

CLARY — (Claps his hand twice; a waiter ap- 
proaches.) A jug of iced beer for this gentleman. 

RANILLA — If you don't pay it!.. 

CLARY — By Jove!... (The waiter brings the 
beer and goes. Ranilla drinks it at a single draught 
and opens his copy-book.) 

RANILLA — (Reading) "The capture of Gre- 
nada" historical pantomime in ten acts, one lapse 
and one collapse. (NOTE 4, V end of book. There 
is another supplementary scene which can be used 
instead of this) 

CLARY — Oh! Dear me! 

RANILLA — Mimic and music by Octave Ranil- 
la, yours truly. 

CLARY — At your service, Sir. 

RANILLA — Scenery of 1st Tableau: In the 
background, at the farthest end, we see the Sierra- 
Nevada; white snow; on the left, another moun- 
tain, some hills and ondulations. An interval re- 
presents the Alhambra. In front of this a wall and 
some moresque dwellings. The scenery is completed 
by trees during the falling of the leaves and a 
green pine; on the ground, some stones, pebbles 
and rubbish. (Stops reading) What do you think 
of this scenery? 

CLARY — That there is no lack of rubbish. 

RANILLA — (Reads) Personages of first ta- 
bleau: Boabdil called "shorty; mahommedans, 
mahometan women, mores, slaves. The king Fer- 
dinand, Isabelle the Catholic, Philip the Handsome 
Madame Jeanne the Crazy, the great captain and 
captain Grant. Some holsters, ladies and gentlemen 
pages and straws. Ah! there are also two heralds 
going out. 

CLARY — No others. 

RANILLA — No others. 

CLARY — Go ahead, then. 

RANILLA — Boabdil or Shorty walks on the 
stage, his head bent as in meditation, a paper in 
his hand; and, by signs, he makes it understood 
that this paper is a letter of the tribunal to order 
him to leave Grenada within 24 hours, after con- 
signing the keys and he declaims as follows: 

I called Mahomet and he heard me not. 

The keys of this door 

I must consign them, oh! 

Mahomet must answer for it. I won't. 

(He whimpers with all his might, and sighs.) 

CLARY — And why does he sigh? 

RANILLA — To justify "the Moor's Sigh". (He 
reads.) He removes his helmet, arranges his hair 
with his fingers and disappears behind the green 



28 

pine. What do you think of that for a beginning? 

CLARY *** — Finally, Mr. Ranilla, if there 
was any possible chance for extravagances to suc- 
ceed, your pantomime would obtain a phenomenal 
success. As far as I can judge, you will have big 
expenses for scenery, vestments, apparel, etc., etc. 

RANILLA — Clothing?., very little; besides, if 
you so desire, I offer to play myself the role.... 

CLARY — And you would be admirable, indeed! 
....but... 

RANILLA — Then, what do you mean? 

CLARY — All right, then; I engage you and all 
your troup, to play this pantomime immediately. 

RANILLA — Just as you say, and thank you, 
(He makes a ridiculous courtesy and goes.) 

Pantomime : The CAPTURE OF GRENADA 

No. 7 (bis). MUSIC (according to parts) 
CAPTURE OF GRENADA or PARADISE LOST 

Fantastic Dance and Pantomime 

MUSIC No. 7 (bis). 

The stage is in darkness. While the tables and 
chairs are removed, the curtain is risen, showing 
another curtain; the space between the two cur- 
tains is made to represent the entrance to a great 
theatre, with combined scenery. A court-yard of 
the Alhambra. On the right, at the back, a door 
through which is seen a great yard. Above the door 
two windows, with shades; below, in the centre, 
two twin windows giving a view of the gardens. 
At the left, a large door with draw-bridge, through 
which are seen fields and hills covered with the 
field-tents of the besieging army visible in the far 
distance and who shall appear at dawn, a quarter 
of an hour after the beginning of the orchestra. It 
is night, feeble lamp lights are seen by the win- 
dows of oriental style opening on the stage. As the 
curtain rises, Boabdil and Zulema are on the stage. 

PERSONAGES: 

BOABDIL, a dancer dressed as a Moorish king, 
(the same who impersonated Diana). 

ZULEMA, a dancer dressed as a sultana, (the 
same who impersonated Venus). 

A NOTABLE, dancer or chorus girl, dressed as 
a moorish general, who has just won a partial vic- 
tory 



2 9 



Four dancers or chorus girls attired as warriors. 

Two HERALDS, dancers or chorus girls dressed 
as Christian heralds with an order to change posts. 

Four dancers or chorus girls dressed as chris- 
tian soldiers carrying swords. 

ODALISQUES — 7 or 8 of the chorus, attired 
in the oriental manner of the period. 

THE COURT — 7 or 8 of the chorus, dressed 
according to the custom of the period. 

SONGS MUSIC 

Dear wife, be happy A-8 compas. 

The new dawn hails thee. 2-4 polka 

I greet my lord, 
And all is turned into joy. 

(Boabdil and Zulema, happy in the Alhambra, ex- 
change salutations, he, first and she, after.) 

Let us dance joyously together B-8 compas, 

Frolicking always gaily 2-4 animated polka. 

Praising and singing 
The great Allah, our creator. 

(They exchange greetings full of love; they dance 
and frolic. (The day begins with the sun appearing 

How lovely! C-8 comas. 

Look! how glorious! Moderate. 

(Grenada charms Zulema and Boabdil shares her 
emotion.) 

Grenada is a garden D-7 compas, 

Like an Oriental Parnassus 2-4 poika, 

Grenada is an Eden 

A terrestrial paradise (They dance together.) 

You ever repulse me, E-8 compas. 

Not for lack of love, 4-4 allegretto. 

Your obstination, I fear, 
Will bring us grief. 

(She caresses him as if to persuade him. He is 
preoccupied, but finally, he abandons himself ten- 
derly.) 



SCENE II. 



MUSIC: F-8 compas. marche 2-4 4 compas more 
moderate. 4-4. 

(A Notable, four warriors and the court of oda- 
lisques enter; these last, from the right; the first 
by the draw-bridge, on the left. 



30 

Silence! Listen! Glory! G-6 compas.. 

The victor slowly comes. 4-4 majestuous. 

(Boabdil and Zulema greet the Notable, and sit 
on oriental divans.) 

Hail, O great lord, H-10 compas 

The triumphant warrior; Allegretto 4-4, 

Greetings to his armies 
Praises to their valor! 

(The Court of Odalisques show their joy and greet 
the Notable by dancing a ceremonious dance). 

All graces to you, O Lord! 1-6 compas. 

Immortal is your splendor! 4-4 majestuous. 

(The Notable, in his turn, greets Boabdil, Zulema. 
and then the court.) 

Hail! Live the victor! J-10 compas. 

And his triumphant army Allegretto 4-4.. 

For the great service 

The victory has vast import 

For our redemption. 

(The odalisques dance another figure with greater 
enthusiasm, (or more motions) 

Do please be seated, K-4 compas, 

magnanimously we pray you. Moderate 4-4. 

(Boabdil and Zulema rise to show their friendship 
to the Notable, and invite him to sit in the Oriental 
fashion). 

(An honorable peace alone L-12 compas, 

Can bring us happiness. Waltz lent. 3-4 

(The odalisques dance with rythm and provokinly; 
while they dance, the Notable rises to make a little 
speech, pointing with his figure the place where 
are the besiegers, as if to recommend great pru- 
dence.) 

(The odalisques dance). M-16 compas. 3-4 waits 
(Inside, the big drum sounds 5 times in measure.) 

N-8 compas. 3-4 waltz accelerated, 

(The dancers are simulating the anxiety, the fear 
of seeing the besiegers; they express the fear in- 
dicated by the musical effects). 

O serene, divine enchantress, 0-16 compas 

An occult, compelling magic 3-4 waltz slower 

Has awakened my curiosity. 



3i 

(Zulema acts witch-like, like Cleopatra, as if she 
were the prey of a mysterious preoccupation and 
makes a dance with contortions. 

You were ill-advised P-16 compas. 

If you surrender 3-4 same measure 

You are lost. but more whim 

(All dance, except Boabdil, Zulema and the Not- 
able with his warriors, making gestures of revenge. 

O look! Look on! Q-8 compas. 

They are warriors 2-4 polka. 

Of Castille and Aragon. 
Come to offer the fight 
In the name of religion. 

(The Notable indicates the troups of Castille 
outside while the odalisques manifest bellicose in- 
tentions and the 4 warriors dance a sort of galop 
very animatedly.) 

Very hard the chastiment R-16 compas. 

And severe the besieger 2-4 polka, 

For the offence unequalled 
AVhat grief, what torment! 

(The dance continue more animated with the 4 
warriors taking part in it, and making threatening 
gestures. ) 

Sweet dreams, happy times! S-17 compas. 

Paradise forever lost 3-4 waltz slowly, 

For yieldings so easily 
To a woman's too wily 
capricious claims. 

(Boabdil and Zulema simulate sentimental de- 
monstrations) (The odalisques dance with a pro- 
vocative rythm.) 

S-2 waltz slow. 15 compas. 3-4.) 

(Same melody; the others follow with the motions 
of their bodies the compas of the music. 

T-18 compas. 3-4 energically 

(All shudder with horror) 

U-24 compas. 3-4 energically 

(A storm breaks out; they simulate fear with 
distracted gestures.) 

(The Notable and his warriors go by the right exit 



SCENE III 

Our duty it is to expulse you V-3-4 16 compas 

from this kingdom's oriental garden allegretto 
Our duty is to chastise you 
In the name of the general executioner. 

(Two heralds and four females of the avant-guard 
of the invaders come from the left; they insult 
Boabdil and Zulema with their unsheathed swords, 
and their dances, stamping with their feet to the 
compas of the music to terrorize them.) 

(W-4-4 8 compas. allegretto.) 

(They press Boabdil and his followers to aban- 
don Grenada and simulate between them some at- 
tacks and defensives with their swords, coming 3 
steps ahead each couple face to face; going back, 3 
steps, then 3 short steps to place themselves in 
guard and knocking three times with their sword 
their opponent, at the compas of the music. If the 
swords are provided with electric current, an elec- 
tric spark shall come out at each blow. 

X Same time. 4-4 4 compas. 

(The four are mocking with their mimicry Boabdil 
and Zulema who simulate that they are weeping.) 

Resignation is by far Y-2-4 polka. 

Preferable to hatred. 12 compas. 

Be cheerful and forget 
The happy past. 

(The four, with eloquent gestures, try to per- 
suade them to leave.) 

They seem unwilling to depart. Z-2-4 polka. 

Yet they are convinced, 8 compas. 

They lament their sad fate 
Knowing they must be resigned. 

(With their gestures, they persuade them to go.) 

Oh! Elyseum! happy dwelling, 

That forever, unfortunates 

We must leave, Final Duo 3-4 waltz 

You shall be dead for me slow. 34 compas. 

Oh! paradise of my love 

I shall ever remember thee 

Always, in my tears I will 

Remember what I was. 

(Sung by Boabdil and Zulema while they all go 
out slowly toward the draw-bridge, at the left.) 



CONVERSATION 

CLARY — (Who comes, greatly disturbed, to 
call Richard) Mr. Richard! Mr. Gustave! 

RICH. & GUST. — Mr. Clary! What can be the 
matter? 

CLARY — A terrible misfortune! 

GUSTAVE — Misfortune? Speak! Hurry! 

CLARY — The gods, under the direction of 
Mars, have invaded Monte Carlo, and the Misses 
Venus and Diana have eclipsed. 

RICHARD — What story are you saying? (They 
stand, visibly alarmed). 

GUSTAVE — They eclipsed, did they? 

CLARY — Yes, in automobile, with two noble- 
men. 

RICHARD — (Raving) Is that true? Ah! the 
infamous deceivers! 

GUSTAVE — Trust to goddesses to do you brown. 

CLARY — Ah! dear me! 

RICHARD — Phyllis, come to the rescue! 

GUSTAVE — Gendarmes! Policemen! Guards! 
Phyllis! (Great confusion and Gustave and Ri- 
chard run out. The waiter follows them and Clary 
remains desperate.) 



VARIATION 
No. 8. INTERMEZZO 

FINAL TABLEAU 

The tableau is the same as the first. — At- the rise 
of the curtain, Gustave and Richard are seen oh 
the stage in the sarnie manner as they were before 
the appearance of Phyllis. — Rita and a waiter, 
who carries a tray, with covers, dishes and napkins 

RITA — (Calling Gustave) Mercy! what load 
they have taken! Halloah! friend! 

RICHARD — (rising) Eh? who is it? 

RITA — I have been calling you for half an 
hour. 

WAITER — Here are the covers; where do you 
want me to lay them? 

RICHARD — What a stupidity! What a disgust- 
ing spree! (He reels unsteadily.) 

RITA — Mr. Gustave has taken a famous one, 
also. 

RICHARD — Gustave! Eh, my boy! the waiter 
and Rita are here 



34 



GUST AVE — (Still sleeping) Diana! Diana! 

RICHARD — Leave Diana alone! Dinner is here! 

GUST AVE — (Wakes up, rises, looks at the 
waiter, takes his head and looks at it.) And the 
bill of fare? And Diana? I had a marvelous dream! 
I am just returning from the Olympus. Where is 
Phyllis? (Phyllis appears, but in realty with the 
name of Philomene, a young lady elegantly dressed 
with the skirt-pantalettes or in the latest style). 

PHILOMENE — I am not Phyllis. I am Philo- 
mene, your unknown sweetheart and opposite 
neighbor; the self same who had a bottle of cham- 
pagne prepared with an oriental liquor that pro- 
vokes sleep, so that you would dream of me, as it 
happens to all those who smoke opiums and find 
the inspiration they desire in the dream of their 
illusions; and Mr. Judas served as a go-between 
to put in execution my ingenuous idea to get an 
excuse to speak to you. The three receipts and the 
five dollars, I paid myself. I am rich and I offer to 
take you under my protection. (The waiter places 
the service on the table). 

WAITER — Gentlemen, all is ready. 

RICHARD — Then that rascal of Mr. Judas has 
deceived us. I am going to paint his face like a 
monkey, and put his portrait in the pawn-shop. 

RITA — I told you that I did not trust Mr. Judas. 

GUST AVE — (To Philomene) And you will be 
my Muse really, and forever? 

PHILOMENE — Yes, and right now, we could 
celebrate with a betrothal banquet. 

RICHARD — (To Rita) And you, will you be 
my fiancee? 

RITA — Yes, and forever. 

No # 8 (bis) MUSIC (According to parts 

Waltz the 8 first lines of which are sung by GUS- 
TAVE, PHILOMENE, RITA and RICHARD altern- 
atively. The following 8 are sung by RITA and 
PHILOMENE together, while GUSTAVE and RI- 
CHARD, simulate dancing behind them according 
to the music and making gambols to embrace them 
The 8 last lines are sung by GUSTAVE and RI- 
CHARD together, while the girls dance together 
and make jests; The final is sung by all four tog- 
ether. 

GUSTAVE 

A figure to admire 

a gentle step in marking pace. 



35 



PHILOMELA 

Arrayed in rich attire 

to dignify our native grace. 

RITA 

Distinguished conversation 
Refinement above all doubt. 

RICHARD 



Congenial disposition 
to perfection in and out. 

PHILOMELA AND RITA 

Therefor every maiden ought to know 

what station may best suit her 

and strive to win a dashing beau 

or find another suitor 

There's no more vexing undertow 

with joys at our proposal 

and love to make them overflow 

with money at disposal. 

GUSTAVE AND RICHARD 

And they spend it fast to make you laugh 

or sadden if you're foolish. 

But you must love your better half 

Instead of getting prudish 

if women make us feel so shy 

we come to the conclusion 

We dare not harm a butterfly 

nor break a heart's illusion. 

CONVERSATION 

GUSTAVE — I have already a subject for my 
work; just like this one: I shall place it at the end. 

RITA — The end, is what suits me best. 

RICHARD — Noble enterprising soul! Live our 
benefactress! 

GUSTAVE (to the public) Generous and decided 
she requests before taking her leave 

RITA — A plaudit often repeated — 

PHILOMENE — For Diana the Huntress. 

FINAL MUSIC. — CURTAIN. 
Conditional Supplement to the Scene of 



36 



RANILLA, ADAM and EVA 

(According to best judgement of Stage Director 

RANILLA — (Reading) The scene represents a 
virgin forest; plane-trees, medlar-trees, apple-trees 
and cocoa-trees. The cocoa-tree and the apple-tree 
must be very prominent. Plants of tomatoes in the 
undergrowth. (Stops reading) What do you think 
of the scenery? i 

CLARY — That there will be an abundance of 
rotten tomatoes. (Aside) What a silly thing! What 
a funny fellow! 

RANILLA — Personage's of first tableau: Adam 
and Eva. 

CLARY — How are Adam and Eve represented? 

RANILLA — In the most sycalipsique manner 
possible. Our first ancestors were undoubtedly, the 
inventors of sycalipse. 

CLARY — Yes, but.... 

RANILLA — I understand what you want to tell 
me. Well, they shall appear with their respective 
grape leaves, held in place with suspenders. 

CLARY — Go on! 

RANILLA — (Reads) Jeovah, Lucifer, St. Mi- 
chael, two guardian angels, a few persons and the 
municipal music band. 

CLARY — By Jove! 

RANILLA — He also comes near the end. Scene 
first. Adam, very lonely, is seated on a stone, and 
plays with an apple and an orange. Eva, seated op- 
posite him, on her heels, is making some crochet. 
The orchestra plays a polka while they continue 
their tricks, he with the fruits, she with the cro- 
chet hook. 

CLARY — Very amusing,... very. 

RANILLA — As soon as the polka is ended, the 
accords of the royal march are heard. From the 
back. Jeovah enters with all his celestial court, 
angels and seraphs. Adam and Eva stop their in- 
nocent playing and courtesy. Jeovah sits in the 
center of stage. His court is grouped around him» 
and the seraphs perform a celestial dance. When It 
is ended and the Creator looks at the apple used 
by Adam In his play, he tells him that that fruit 
must not be touched. Eva drops her head in confu- 
sion and shame and there is great commotion. 
There are several apple's peelings on the ground. 
The proofs of the crime are evident: Adam and 
Eva have eaten of the fruit to their heart content. 
Jeovah gives orders for their expulsion from para- 



37 

dise; Eva appeals to God; and so does Adam; but 
all in vain; the crime, it seems, is much greater 
than it does appear; and Adam and Eva are evict- 
ed from Paradise with bag and baggage and the 
peelings besides. A storm breaks and all the ce- 
lestial court disappears. Here several thunderbolts 
are heard at intervals. End of first act. (Stops 
reading) What do you think of that? 
*** (To that sign in the book). 



No. 7 A According to parts. 
(To be substituted to No. 7 Bis Pantomime) 

Trio sung by 3 waiters, Tenor, Baritone and Basso, 
who advance to sing, making grotesque motions 
with their hands to accompany their song at the 
beginning; then, they execute a cake-walk and 
head a procession in which take part all the per- 
sonages on the stage, who raise to carry between 
them the tables ornamented of small figures simi- 
lar to those generally carried around during the 
cavalcade in Nice, and are followed by gypsies, by 
actors and everybody else carrying chair and all, 
take place in the procession, marching to the tune 
of the music. 



PANAMA STAR 
TRIO 

Ship aboard, for off we go 

heading south of Mexico. 
A water way, mid ocean lay 
from Aspinwall to Panama 

Hurra! 
Three cheers, hurra! 
from near and far. 

See the water float the steamer 

hi the basin like a feather. 

Through the locks of mighty pressure 

interocean onward bound 
Moving slowly over mountains 
on to the coast of either side 
to engage with other ships 
in the world's commercial tide. 
Gliding slowly over mountains 
into the ocean far and wide. 
You enjoy a pretty trip 
when you take an ocean ride. 



38 



If Columbus were alive 

we should like to meet him here 

Just to see the enterprise 

of this modern hemisphere. 

See the water float the steamer 

in the basin like a feather 

through the locks with mighty pressure- 

to the ocean safe and sound. 
Merchants, travellers, 
men of wisdom, all join our trip. 

Welcome Nations of esteem 

to inaugurate the scheme. 

May your friendship be the prize 

which will crown our enterprise^ 
The Isthmus of Darien 
to energetic men 
surrendered like a giant 
to a scientific pen 
The Isthmus of Darien 
was conquered by the 
human effort to remove 
a mountain in the way. 
Success to all we say 
In God We Trust. 



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